Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 8253 HIGHLIGHT: BASELITZ GEORG BASELITZ IS CELEBRATED FOR HIS reinvigoration of wood-and-linocut printing during the late 1970s and early 1980s. Drawing upon the legacy of Die Brücke, a group of German artists active during the early 20th century who used woodcut to express the emotional trauma and power of life, Baselitz embraced the direct nature of the hand-printed relief print. Many of his works depict upside-down figures, a technique which allows the image to be seen as both represen- tational and abstract. This linocut is from an important series of monumental woodcuts executed in 1977. The large size, coupled with the active nature of the cutting and expressive handling of the pigment (black oil paint), produces a unique and ambitious piece that rivals the artist’s work in painting and sculpture. OPPOSITE: Unknown. Japanese, Edo period (1615–1868) or Meiji era (1868–1912), late 19th or early 20th century Ko ¯ bon (Incense Tray) with Mount Ho ¯ rai (detail) Lacquered wood Gift of Cornelia and Erik Thomsen LEFT: Georg Baselitz. German, born1938 Weiblicher Rückenakt mit erhobenen Armen (female back with arms raised), February 14, 1977 Linocut printed in black oil on tan paper mounted on canvas Gift of Nancy Gillespie de La Selle, class of 1969